I’d say TLJ is as hacked up as TFA is, but in a more subtle way I guess, there’s not a lot of obvious tracking. ‘Escape’ is the worst offender, but in general the ISO score is full of noticeable splices.

Thanks. Agree with everything written there, but I don’t see why that makes it so great *in comparison* to his other post-2005 output. This is a bit off-topic, but I remember you saying in another thread that you listened to TLJ just 2 or 3 times - is it really enough to form such a strong opinion on it? For me, the score has been on repeat for the past 1,5 years and I still can’t get enough of it. The OST album is not an ideal presentation, I will admit that.

That is a different issue altogether I think. But when it comes to programming and such, the RCO will only ever perform ‘high art’. There’s no reason for them to change that policy because that’s what their snobistic audience expects and they have enough money anyway. Besides that, we already have many excellent orchestras that play ‘entertainment’ concerts in the same hall, so there is sort of enough of that already.

All three albums I enjoy a lot. Not mind-blowing listening experiences, but overall just very pretty music when I’m not in the mood for the ‘big’ JW scores. And for the BFG and the Post they fit like a glove with the movie so in that respect they’re just very good scores. Haven’t seen Book Thief.

The Royal Concertgebouw Orchestra would never ever have JW conduct the orchestra. Hell, I don’t even think they’ve ever played a little piece by him. They once did a film music program I believe, but it was only music from the Golden Age. They will have a new leadership soon so who knows what that will change...

I remember him saying in the Book Thief interview that he couldn’t present any mock-ups to the director and he was okay with that. Memoirs of a Geisha comes to mind, it has quite a lot of synths and I *think* I hear some sampled percussion in the final product, but I’m not totally sure.

What string writing? Surely there are film composers with knowledge on how to specifically write for instruments, but Junkie XL surely isn’t one of them. And even if they do, it isn’t on the level that JW has displayed throughout his career and on this album.
The comparison between JW and Junkie XL is a bit irrelevant anyway, but I’m surprised at how the sheer craftmanship of Williams’ music seems to be... underestimated sometimes.